movement, acting by way of little concussions,[1] and keeping their movements in exact rhythm by the assistance of their heels, which are resting on the ground.
Twenty-seventh manner.—El khouariki (the one that stops at home). The woman being couched on her back, the man lies down on her, with cushions held in his hands.
After the member has got in, the woman raises her buttocks as high as she can off the bed, the man following her up with his member well inside; then the woman lowers herself again upon the bed, giving some short shocks, and although they do not embrace, the man must stick like glue to her. This movement they continue, but the man must make himself light and must not be ponderous, and the bed must be soft; in default of which the exercise cannot be kept up without break.
Twenty-eighth manner.—Nik el haddadi (the coition of the blacksmith). The woman lies on her back with a cushion under her buttocks, with her knees raised as far as possible towards her chest, so that her vulva stands out as a target; she then guides his member in.
The man then executes for some time the usual action of the coition, then draws his tool out of the vulva, and glides it for a moment between the thighs of the woman, as the smith withdraws the glowing iron from the furnace in order to plunge it into cold water. This manner is called sferdgeli, position of the quince.
Twenty-ninth manner.—El moheundi (the seductive). The woman lying on her back, the man sits between her legs, with his croupe on his feet; then he raises and separates the woman's thighs, placing her legs under his
- ↑ The author makes use of the word nitha, derived from netah, and which is spoken of in note 1, p. 1.
